Drone Course

Mark up the music

The editing workflow process we’ve gone through steps 1 and 2 with selected are clips and we selected the bits for them that are likely to end up in the final production.

We’ve chosen our music.

We’re now going to mark up that music ready to sequence the clips into it.

So I’ve already selected some music I’m about to.

Now move it into final cut pro.

So I’ve gone to finder here on the Mac and here is the music that I’m going to be using.

So a quick word on this.

It is a funky number by joana Dempsey I’ve got direct permission from the artist to use this in the course that is commissioned for me to use it to demonstrate these things to you.

You need to find your own sources of music to practice the things that I’ll be going through in this particular lecture.

Remember the design principle around music makes sure that you select something that you really like you and me listening to it again and again and again relocked sources of music out there on the Internet and music that you may already have.

You need to investigate carefully what the copyright restrictions might be around using map before you start using them in any public videos.

So here’s a number from Jonas empt Dempsey.

I’m going to drag it straight into the project so I could shove it up here as a clip on its own instead and put it down here directly in the project.

So then I want to start manipulating it immediately so I’ve just simply dragged that down there opted on the bottom let’s move that away before I start looking at this music.

One of the first things that we need to do if you’ve not already done it is to strip out the audio from the flight footage.

If you go back to this flight footage here and actually playing.

You can hear all of that racket going on.

That is very unlikely to ever end up in your final production.

So you just want to get it out the way to do that.

I’m going to select all of these clips here in one go.

So I get to go out to the first bit.

Click on it hold down the SHIFT key to the last one click on that and other all selected and then a right click on those.

And I’m going to select detach audio.

So now the propeller noise is now being detached.

I’m going to select all of that audio click on the last one called Shift key down click on the first one or selected and then simply press delete and it’s gone.

So now if we were to put this music by clicking on it and dragging it under the footage we play it we’ve got the nice music in the background.

As we fly along up we don’t need to start playing the footage above the music at this particular stage.

We’re ready to just start marking it up.

There are different ways you can do this.

I recommend you don’t have the footage playing in the background it simply taxes a computer and it’s unnecessary at this stage when all we’re trying to do is to mark up the music.

Our aim here is to take this bit of music and put some marks on it.

So these will end up looking like this little blue dots that we can put on to do that.

I pressed an N and I’m trying to coordinate the marks with the beat changes in the music here.

So I’m just going to get rid of these ones cause I was just showing that as an example to do that I will click on the mark and my click delete again.

Double-click selectively.

So to be able to coordinate the music I can both hear it and then I can also see the little ticks.

But as all I want to do now is to get to see the little ticks where the music changes and adjust my screen slightly so I can see the timeline much better.

So I’ve moved the screen up by dragging in the between the screen and the timeline and then going to go down here where I can adjust the look of these clips so I click on the clip thing here or there to the far left one.

This now just shows sound and you can already see that the spikes are looking a little bit easier to see.

I can also change the height of the clip or whack it up to as high as it goes.

So I’ve now got the best chance to see the spikes going on here.

Click down on the icon here so I can stop adjusting the appearance and I’ll stretch out the time line a little bit.

So I.

So those spikes have a little bit more information in them that need to go too far though at this point.

First thing I’m going to do is listen to the music.

So I got some brief idea as to roughly where the beats are going to be changing.

So from listening to that I need to make a decision as to which of those changes I’m going to be putting my marks on because there are a number of different instruments there and I could put my marks on any of them.

What you have to do to get this right is to think about what you think the viewer is going to be thinking the main pulses that’s going through the music.

And for me it’s that an S sound that’s going on that’s quite funky it better than when I said it as well.

So I’m going to listen for that.

And then as it plays I’m going to press em on the keyboard and that will mark up the track automatically.

I’m not going to try to be amazingly precise about this because we’re going to do this twice.

We’re going to go through the whole track.

We’re going to put the EMS on roughly with England a zoomin much closer and adjust those marks to the very precise point that they should be.

And time and time again I’ve decided that this is the most efficient process.

If you try and be ultra precise the first way through it will take you a lot longer than doing this to pass process.

So here we go to begin with.

In print.

Yeah.

Right.

Would stop there because there was a big change in the music at that particular point.

And we’re looking for those changes as we’re going to mark them up in a slightly different way.

If you hear just about here

you got the bass dropping in about there.

That is going to be a great point in our music for where we can shift the type of clips that were showing to the audience so we could move from all beat shots to jungle shots.

And it’s a good editing excuse to make that shift.

And if you do it right the user will expect you to make some big changes at those spots and it will increase treaster dramatics that they’re experiencing while looking at the footage.

So I’m going to find that spot again there and then market.

There it is.

Now I need to give that mark a different colour so that I know that is an important change in the music.

So from an editing point of view I can react accordingly to do it.

You double click on the mark by clicking on the blue bit and then up here select this little chapter marking sign select that flick done.

Don’t worry about this orange dot for now.

It’s not important.

Important because I know that that’s where a change happens in the music.

So I continue going through a few more seconds of this music market ups.

You guys get the idea of how to do the rest of it that instruments are about to change.

And so I’m going to have to pick out some alternative polls potentially to do my marking too where I’ll just do that on the fly and see how it works.

And

bread.

And I don’t know.

Now there was another change in the music not as dramatic as the beat drop that we saw before a drum started to kick in there.

That could be another useful point to sit to put a chapter marker on so we can make a bigger shift in our footage that we’re going to be sinking to that song and go back and listen for that drum marker and boom boom boom boom boom.

To that we go there’s a drum marker about there and a selected up select chapter.

We’ve got two chapter markings are continue listening to a little bit more to mark this up to help with the demo.

Boom boom boom boom boom.

And so on.

So that would be for now.

You do this through to the end of the track stopping as you go to select the chapter markers.

You kind of done this rough and ready.

Actually it helps quite a lot to simply close your eyes when you were doing this.

And then just do it to the beat depending on how much rhythm you feel that you’ve got.

So now imagine we’ve done this to the end of the track.

We’re going to go and do our second pass of doing this so that we can get the detail exactly correct in order to do that.

We need to zoom in so we can see much more riffs in a refined way where the music’s changing at this point make sure your eyes are open.

You’re going to be using the visual cue the pattern that you can see on the soundtrack.

So I mean zoom in.

Fairly far you want zooming crazily far otherwise it will take you forever.

There are enough here so you can see really clearly where the beats are changing.

Then I’ll go back to the beginning of the soundtrack and I’ll look for where that beats changing and I’ll listen to it again and see which point.

Visually it sounds like the music is changing.

So it looks to me like that that the B is actually changing there.

If you put your mark on it there you can hear it.

So that’s wrong.

So what I’m going to do is I put it there.

And typically you’ll find that the eits will change on the spikes of these little stalagmites that are hanging down the little troughs in the in the visual wave form.

And it’s on the tops of the spikes you want to go for.

You can use that as your visual cue right about there.

So Mark that one up are then I will click on the one that I had misplaced and clicked delete and go and check out the next one again.

I know it’s likely to be in the top of that spike.

Looks like we have nailed that one pretty much correctly.

Now go on a look at the next one.

That one is out right.

That is fritted bricklayers.

So that will do we’ll keep that one going.

It would go for the next one.

Okay.

That one slightly early.

So on that over put it there.

Double click on it and delete.

And sometimes you might be thinking well why on earth was I trying to be so precise.

It really makes a difference from the user’s point of view.

Once you’re in here trying to do this refined getting absolutely precise point of view you might as well move it even if it’s only micrometers to get it right.

Now we’re going to listen for where this is Eat changes and try to find out where that should be lying on the wave pattern.

So again I think that’s way off.

I think it should be there.

That’s it.

Okay.

So I marked that up again.

Move over it Press em.

I will click on the first chapter marking delete it back to the new one.

I will click on it and select it as a chapter marking to turn orange.

Yeah.

Now that one that’s fine.

No need to refine that further.

Check this one out here.

I think that should be there.

Okay so put that on the peak instead.

Click em.

Select the old one and delete it.

Now over the next bit.

That again should be on the peaks that one slightly off clip n double click on the old one and delete it and then I’m going to drag my timeline over.

I used two fingers on my trackpad in order to read a do that here.

Slightly off.

So in that up delete the old one.

Check here for the where this beat drop changers.

This is a slightly lower impact each drop.

Done.

So I think that’s on that point there.

Very occasionally the sound appears to change where the troughs occur where they’re carrying up here in the yellow bit.

That’s not happening here.

So again that big change.

Is there.

Delete the old chapter marking.

Select the new one.

Make it an actual chapter marking.

Okay.

That one slightly off.

So select that on the tip there.

The legal one.

How many the water got leaded to more set this right.

That’s slightly off again M..

Last one.

Alan we’ve got nailed.

So from that you get the idea of how to mark up your your beats.

I suggest that you try this with a whole range of different music.

It’s becomes quite quick and easy to do what you struggle with initially is which of the pulses in the music should you be selecting and you need to try one there will all work to some degree.

But some of the pulses work better than others.

What you’ll find is if you ended up choosing the wrong one is when you start to sequence your music into it and you play it back you’ll hear the music playing and you’ll hear a particular pulse pulsing and then the end of that but it won’t change at that point.

If that really jars with you you’ll have known that you’ve selected the run wrong pulse points in the music and that’s all there for you to go back in.

And a trick that mistake you get much better at it as you get give this or some practice.

The editing workflow process we’ve gone through steps 1 and 2 with selected are clips and we selected the bits for them that are likely to end up in the final production.

We’ve chosen our music.

We’re now going to mark up that music ready to sequence the clips into it.

So I’ve already selected some music I’m about to.

Now move it into final cut pro.

So I’ve gone to finder here on the Mac and here is the music that I’m going to be using.

So a quick word on this.

It is a funky number by joana Dempsey I’ve got direct permission from the artist to use this in the course that is commissioned for me to use it to demonstrate these things to you.

You need to find your own sources of music to practice the things that I’ll be going through in this particular lecture.

Remember the design principle around music makes sure that you select something that you really like you and me listening to it again and again and again relocked sources of music out there on the Internet and music that you may already have.

You need to investigate carefully what the copyright restrictions might be around using map before you start using them in any public videos.

So here’s a number from Jonas empt Dempsey.

I’m going to drag it straight into the project so I could shove it up here as a clip on its own instead and put it down here directly in the project.

So then I want to start manipulating it immediately so I’ve just simply dragged that down there opted on the bottom let’s move that away before I start looking at this music.

One of the first things that we need to do if you’ve not already done it is to strip out the audio from the flight footage.

If you go back to this flight footage here and actually playing.

You can hear all of that racket going on.

That is very unlikely to ever end up in your final production.

So you just want to get it out the way to do that.

I’m going to select all of these clips here in one go.

So I get to go out to the first bit.

Click on it hold down the SHIFT key to the last one click on that and other all selected and then a right click on those.

And I’m going to select detach audio.

So now the propeller noise is now being detached.

I’m going to select all of that audio click on the last one called Shift key down click on the first one or selected and then simply press delete and it’s gone.

So now if we were to put this music by clicking on it and dragging it under the footage we play it we’ve got the nice music in the background.

As we fly along up we don’t need to start playing the footage above the music at this particular stage.

We’re ready to just start marking it up.

There are different ways you can do this.

I recommend you don’t have the footage playing in the background it simply taxes a computer and it’s unnecessary at this stage when all we’re trying to do is to mark up the music.

Our aim here is to take this bit of music and put some marks on it.

So these will end up looking like this little blue dots that we can put on to do that.

I pressed an N and I’m trying to coordinate the marks with the beat changes in the music here.

So I’m just going to get rid of these ones cause I was just showing that as an example to do that I will click on the mark and my click delete again.

Double-click selectively.

So to be able to coordinate the music I can both hear it and then I can also see the little ticks.

But as all I want to do now is to get to see the little ticks where the music changes and adjust my screen slightly so I can see the timeline much better.

So I’ve moved the screen up by dragging in the between the screen and the timeline and then going to go down here where I can adjust the look of these clips so I click on the clip thing here or there to the far left one.

This now just shows sound and you can already see that the spikes are looking a little bit easier to see.

I can also change the height of the clip or whack it up to as high as it goes.

So I’ve now got the best chance to see the spikes going on here.

Click down on the icon here so I can stop adjusting the appearance and I’ll stretch out the time line a little bit.

So I.

So those spikes have a little bit more information in them that need to go too far though at this point.

First thing I’m going to do is listen to the music.

So I got some brief idea as to roughly where the beats are going to be changing.

So from listening to that I need to make a decision as to which of those changes I’m going to be putting my marks on because there are a number of different instruments there and I could put my marks on any of them.

What you have to do to get this right is to think about what you think the viewer is going to be thinking the main pulses that’s going through the music.

And for me it’s that an S sound that’s going on that’s quite funky it better than when I said it as well.

So I’m going to listen for that.

And then as it plays I’m going to press em on the keyboard and that will mark up the track automatically.

I’m not going to try to be amazingly precise about this because we’re going to do this twice.

We’re going to go through the whole track.

We’re going to put the EMS on roughly with England a zoomin much closer and adjust those marks to the very precise point that they should be.

And time and time again I’ve decided that this is the most efficient process.

If you try and be ultra precise the first way through it will take you a lot longer than doing this to pass process.

So here we go to begin with.

In print.

Yeah.

Right.

Would stop there because there was a big change in the music at that particular point.

And we’re looking for those changes as we’re going to mark them up in a slightly different way.

If you hear just about here

you got the bass dropping in about there.

That is going to be a great point in our music for where we can shift the type of clips that were showing to the audience so we could move from all beat shots to jungle shots.

And it’s a good editing excuse to make that shift.

And if you do it right the user will expect you to make some big changes at those spots and it will increase treaster dramatics that they’re experiencing while looking at the footage.

So I’m going to find that spot again there and then market.

There it is.

Now I need to give that mark a different colour so that I know that is an important change in the music.

So from an editing point of view I can react accordingly to do it.

You double click on the mark by clicking on the blue bit and then up here select this little chapter marking sign select that flick done.

Don’t worry about this orange dot for now.

It’s not important.

Important because I know that that’s where a change happens in the music.

So I continue going through a few more seconds of this music market ups.

You guys get the idea of how to do the rest of it that instruments are about to change.

And so I’m going to have to pick out some alternative polls potentially to do my marking too where I’ll just do that on the fly and see how it works.

And

bread.

And I don’t know.

Now there was another change in the music not as dramatic as the beat drop that we saw before a drum started to kick in there.

That could be another useful point to sit to put a chapter marker on so we can make a bigger shift in our footage that we’re going to be sinking to that song and go back and listen for that drum marker and boom boom boom boom boom.

To that we go there’s a drum marker about there and a selected up select chapter.

We’ve got two chapter markings are continue listening to a little bit more to mark this up to help with the demo.

Boom boom boom boom boom.

And so on.

So that would be for now.

You do this through to the end of the track stopping as you go to select the chapter markers.

You kind of done this rough and ready.

Actually it helps quite a lot to simply close your eyes when you were doing this.

And then just do it to the beat depending on how much rhythm you feel that you’ve got.

So now imagine we’ve done this to the end of the track.

We’re going to go and do our second pass of doing this so that we can get the detail exactly correct in order to do that.

We need to zoom in so we can see much more riffs in a refined way where the music’s changing at this point make sure your eyes are open.

You’re going to be using the visual cue the pattern that you can see on the soundtrack.

So I mean zoom in.

Fairly far you want zooming crazily far otherwise it will take you forever.

There are enough here so you can see really clearly where the beats are changing.

Then I’ll go back to the beginning of the soundtrack and I’ll look for where that beats changing and I’ll listen to it again and see which point.

Visually it sounds like the music is changing.

So it looks to me like that that the B is actually changing there.

If you put your mark on it there you can hear it.

So that’s wrong.

So what I’m going to do is I put it there.

And typically you’ll find that the eits will change on the spikes of these little stalagmites that are hanging down the little troughs in the in the visual wave form.

And it’s on the tops of the spikes you want to go for.

You can use that as your visual cue right about there.

So Mark that one up are then I will click on the one that I had misplaced and clicked delete and go and check out the next one again.

I know it’s likely to be in the top of that spike.

Looks like we have nailed that one pretty much correctly.

Now go on a look at the next one.

That one is out right.

That is fritted bricklayers.

So that will do we’ll keep that one going.

It would go for the next one.

Okay.

That one slightly early.

So on that over put it there.

Double click on it and delete.

And sometimes you might be thinking well why on earth was I trying to be so precise.

It really makes a difference from the user’s point of view.

Once you’re in here trying to do this refined getting absolutely precise point of view you might as well move it even if it’s only micrometers to get it right.

Now we’re going to listen for where this is Eat changes and try to find out where that should be lying

on the wave pattern.

So again I think that’s way off.

I think it should be there.

That’s it.

Okay.

So I marked that up again.

Move over it Press em.

I will click on the first chapter marking delete it back to the new one.

I will click on it and select it as a chapter marking to turn orange.

Yeah.

Now that one that’s fine.

No need to refine that further.

Check this one out here.

I think that should be there.

Okay so put that on the peak instead.

Click em.

Select the old one and delete it.

Now over the next bit.

That again should be on the peaks that one slightly off clip n double click on the old one and delete it and then I’m going to drag my timeline over.

I used two fingers on my trackpad in order to read a do that here.

Slightly off.

So in that up delete the old one.

Check here for the where this beat drop changers.

This is a slightly lower impact each drop.

Done.

So I think that’s on that point there.

Very occasionally the sound appears to change where the troughs occur where they’re carrying up here

in the yellow bit.

That’s not happening here.

So again that big change.

Is there.

Delete the old chapter marking.

Select the new one.

Make it an actual chapter marking.

Okay.

That one slightly off.

So select that on the tip there.

The legal one.

How many the water got leaded to more set this right.

That’s slightly off again M..

Last one.

Alan we’ve got nailed.

So from that you get the idea of how to mark up your your beats.

I suggest that you try this with a whole range of different music.

It’s becomes quite quick and easy to do what you struggle with initially is which of the pulses in the music should you be selecting and you need to try one there will all work to some degree.

But some of the pulses work better than others.

What you’ll find is if you ended up choosing the wrong one is when you start to sequence your music into it and you play it back you’ll hear the music playing and you’ll hear a particular pulse pulsing and then the end of that but it won’t change at that point.

If that really jars with you you’ll have known that you’ve selected the run wrong pulse points in the music and that’s all there for you to go back in.

And a trick that mistake you get much better at it as you get give this or some practice.

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